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Solaris
(2002)
Album Cover Art
2002 Superb
2008 Superb
Album 2 Cover Art
2011 La-La Land
Album 3 Cover Art
Composed and Produced by:
Cliff Martinez

Conducted and Orchestrated by:
Bruce Fowler
Labels Icon
LABELS & RELEASE DATES
Superb Records
(November 27th, 2002)

Superb Records
(March 25th, 2008)

La-La Land Records
(January 18th, 2011)
Availability Icon
ALBUM AVAILABILITY
All of the albums are regular U.S. releases with identical contents. The 2002 pressing was out of print as of 2007.
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AWARDS
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   Availability | Viewer Ratings | Comments | Audio & Track Listings | Notes
Buy it... if an extremely conservative and alienating combination of tone, instrumentation, and rhythm typical to the scores of Clint Mansell, Jon Brion, and Philip Glass is your ticket to deep, quiet, and meaningful contemplation.

Avoid it... if you have feelings of guilt, worthlessness, helplessness, pessimism, emptiness, anxiety, or hopelessness, in addition to suicidal thoughts, appetite loss, fatigue, persistent aches, excessive sleeping, or loss of interest in activities or hobbies once pleasurable, including sex.
Review Icon
EDITORIAL REVIEW
FILMTRACKS TRAFFIC RANK: #1,590
WRITTEN 12/29/09, REVISED 1/17/11
Martinez
Martinez
Solaris: (Cliff Martinez) As good as the two adaptations of Stanislaw Lem's original novel may be considered by critics, neither the 1972 Andrei Tarkovsky or 2002 Steven Soderbergh screen adaptations of Solaris really represented the broader focus of the book. Still, they are extremely thought-provoking explorations of identity and psychology, using the genre of science fiction as a mere tool to study how people interact with those they perceive to be around them. The story takes place on a space station orbiting a distant planet, but not any ordinary one. The planet has the ability to replicate realistic representations of those familiar to anyone onboard the station, but only as realistic as the crew members' memories of those people can be. When this disruption causes panic and death on the station, a psychiatrist (played by George Clooney) investigates and is confronted with a replication of his dead wife. He spends the rest of the film grappling with his relationship with this dead, but awkwardly living, physical being, as well as trying to sort out disparate stories about what happened to the rest of the station's crew from the two original survivors. It's an intimate character study that didn't have enough standard, glitzy science fiction or fantasy appeal to translate its critical success into fiscal revenue (turning a $47 million budget into a paltry $15 million in grosses). Soderbergh admits in hindsight that an arthouse science fiction film was nearly impossible to market, despite the fact that he had condensed Tarkovsky's version down by over an hour. Likewise, Solaris proved to be a difficult assignment to reconcile for any composer involved in the project. The typical bombast or large orchestral tones of the genre would not suffice, and the dreamy, other-worldly aspect of the film's personality precluded a bloated, romantic affair from the same orchestra. Thus, the only alternative for Soderbergh was his high opinion of sound design, and he relied upon his usual collaborator, composer Cliff Martinez, to explicitly emulate the style of Gyorgy Ligeti (among other temp track inspirations) for an extremely conservative, atmospheric approach. By mixing orchestral shades with foreign specialty instrumentation and electronics, Martinez was able to address both the warmth felt between the film's real and not-so-real leads and the foreign environment that produced the story's freaky dilemma. Understatement was obviously Martinez's goal, and to that end he produced a score that meanders and groans in the background with subtle ease. His work is an intriguing merging of Clint Mansell and Jon Brion's sensibilities at the time, and it's not going to awaken anyone from a slumber.



Ratings Icon
VIEWER RATINGS
283 TOTAL VOTES
Average: 3 Stars
***** 73 5 Stars
**** 48 4 Stars
*** 40 3 Stars
** 52 2 Stars
* 70 1 Stars
  (View results for all titles)

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COMMENTS
1 TOTAL COMMENTS
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Either you get it, or not
mehdi - November 28, 2013, at 7:50 p.m.
1 comment  (673 views)
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Track Listings Icon
TRACK LISTINGS AND AUDIO
Audio Samples   ▼
All Albums Tracks   ▼Total Time: 43:30
• 1. Is That What Everybody Wants (2:49)
• 2. First Sleep (2:53)
• 3. Can I Sit Next to You (1:45)
• 4. Will She Come Back (5:01)
• 5. Death Shall Have No Dominion (2:10)
• 6. Maybe You're My Puppet (3:50)
• 7. Don't Blow It (3:34)
• 8. Hi Energy Proton Accelerator (10:51)
• 9. Wear Your Seat Belt (3:10)
• 10. Wormhole (4:33)
• 11. We Don't Have to Think Like That Anymore (2:59)

Notes Icon
NOTES AND QUOTES
The inserts of the 2002 and 2008 albums include no extra information about the score or film. That of the 2011 La-La Land product includes notes about both.
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The reviews and other textual content contained on the filmtracks.com site may not be published, broadcast, rewritten
or redistributed without the prior written authority of Christian Clemmensen at Filmtracks Publications. All artwork and sound clips from Solaris are Copyright © 2002, 2008, 2011, Superb Records, Superb Records, La-La Land Records and cannot be redistributed without the label's expressed written consent. Page created 12/29/09 and last updated 1/17/11.
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